--- title: "Get Shorty" year: 1995 kind: "film" canonical: "https://film.one/film/get-shorty" fi1m_id: "get-shorty" imdb_id: "tt0113161" tmdb_id: 8012 wikidata_id: "Q261923" fi1m_score: 82 critics_score: 80 critics_reviews: 12 published: "2026-09-13" updated: "2026-09-18T08:38:18.505076+00:00" region: "US" licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL." --- # Get Shorty (1995) Directed by Barry Sonnenfeld · 1h 45m · MPA R · Comedy, Thriller, Crime ## Identity Get Shorty - **Canonical:** https://film.one/film/get-shorty - **Type:** Film - **Fi1m ID:** get-shorty - **IMDb ID:** tt0113161 - **TMDB ID:** 8012 - **Wikidata ID:** Q261923 - **Same entity:** https://www.imdb.com/title/tt0113161/, https://www.themoviedb.org/movie/8012, https://www.wikidata.org/wiki/Q261923 **Fi1m score: 82** · Critics 80 from 12 reviews *In a sentence:* John Travolta makes film production look like debt collection with more people asking to be taken seriously > John Travolta makes Barry Sonnenfeld’s *Get Shorty* a crime comedy worth watching for the conversations alone. The Hollywood jokes are sometimes easy and there is little suspense, but the cast makes the familiar business of intimidation funny. ## Synopsis Miami loan shark Palmer (John Travolta) takes his methods into Hollywood, where the business of making films gives him another use for his powers of persuasion. His move brings him into the company of Harry Zimm (Gene Hackman), Karen Flores (Rene Russo) and Martin Weir (Danny DeVito), an actor with a substantial opinion of himself. Conversations about films become negotiations over who gets to call the shots, as Palmer tests how far his confidence will carry him. Barry Sonnenfeld directs this crime comedy from Scott Frank’s adaptation of Elmore Leonard’s novel. ## Review Barry Sonnenfeld’s *Get Shorty* is a funny, well-judged crime comedy whose chief pleasure is watching people try to sound more important than they are. Palmer, the Miami loan shark played by John Travolta, arrives in Hollywood with habits that prove useful in film production. Scott Frank, adapting Elmore Leonard’s novel, keeps the emphasis on conversation: who interrupts, who listens and who assumes a threat needs explaining. We recommend it, provided a gathering of good talkers is enough of an event for the evening. Travolta gives Palmer a confidence that does not depend on raising his voice. He listens as though he has already worked out what the other person wants, and is waiting politely for them to catch up. We laughed at his patient listening, which makes the surrounding bids for importance look faintly desperate. The menace survives because he never appears to be asking for approval, even when he is being agreeable. Gene Hackman’s Harry Zimm is especially good company because Hackman lets the bluster show its effort. He makes self-importance look like tiring work, and the comedy benefits from the strain. Danny DeVito gives Martin Weir the easy entitlement of a star who expects every conversation to concern him, while Rene Russo’s Karen Flores brings steadiness to the competing egos. Delroy Lindo, Dennis Farina and James Gandolfini fill out the cast with distinct varieties of swagger. Sonnenfeld gets laughs from the differences between these performers without making them all chase Travolta’s composure. Donald Peterman’s cinematography has a polish that suits people so keen to have their importance recognised. The controlled images let us enjoy Palmer’s composure without turning every exchange into an occasion to admire the camera. Peter S. Larkin’s production design makes Hollywood look comfortably established; Palmer never seems to be trespassing in surroundings that ought to intimidate him. Jim Miller’s editing is particularly alert to the point at which a conversation has delivered its joke. He keeps the exchanges moving without trimming away the time an actor needs to size somebody up. John Lurie’s score keeps the tone light and brisk, a sensible accompaniment to a film where a threat may also be a bid for attention. At 105 minutes, it moves along easily, although the pace can disguise how little the tension changes. The reservation is that the threats rarely make us anxious. Frank has plenty of fun with the resemblance between organised crime and film production, but the joke is recognisable early and does not develop much. Sonnenfeld occasionally presses harder for a laugh than the dialogue needs, letting a performance become broader when a smaller reaction would be enough. A crime comedy can remain light and still make us worry about somebody; here, we are usually too comfortable for that. Crime comedies often let their gangsters shout their way through a scene until the noise becomes tiresome. Sonnenfeld gets more out of people listening, judging and quietly deciding they know better, which leaves room for Travolta’s particular ease. Choose it for the talk, and do not expect the threats to keep anybody awake. *Fi1m score 82, published 13 September 2026.* ## Straight answers **Is Get Shorty worth watching?** *Get Shorty* is worth watching for anyone who enjoys a crime comedy built on conversation rather than suspense, and we scored it 82. John Travolta's patient, unhurried loan shark and Gene Hackman's effortful bluster make the talk the main event. Choose it for the cast; the threats will not make you anxious. **How long is Get Shorty, and what is it rated?** *Get Shorty* runs 1h 45m and is rated R by the MPA in the US. It is a comedy and thriller film. **Where can I watch Get Shorty in the US?** *Get Shorty* is streaming on The Roku Channel and Tubi in the US, and it is also available to rent from Amazon Prime Video and Apple TV from $3.99. It leaves The Roku Channel on 1 October. Availability is checked daily; the links above go straight to each service. **How violent or frightening is Get Shorty, and is it suitable for children?** *Get Shorty* carries a UK 15 certificate, so it is not for children, though it is a comedy about intimidation more than a violent thriller. The menace comes from confident men talking rather than from anything that frightens, and we were never made anxious. Teenagers old enough for the certificate should find it easy going. **How does Get Shorty compare to Out of Sight?** *Get Shorty* is the brisker and more openly comic of the two Elmore Leonard adaptations, built on Hollywood egos trying to sound important, while [*Out of Sight*](https://film.one/film/out-of-sight) is more relaxed and gives its danger weight through romantic friction. The Soderbergh film is the richer one; choose *Get Shorty* if you want the laughs without the ache. **Is Get Shorty based on a true story or a book?** *Get Shorty* is based on Elmore Leonard's novel of the same name, adapted by Scott Frank, and is not a true story. The film keeps Leonard's emphasis on talk, on who interrupts and who listens, rather than on plot. You do not need to have read the book to enjoy it. **What should I watch after Get Shorty?** After *Get Shorty*, try [*Out of Sight*](https://film.one/film/out-of-sight) (1998, Fi1m 86): More relaxed criminal charm, with enough romantic friction to make the danger count. Then [*The Player*](https://film.one/film/the-player) (1992, Fi1m 85): Hollywood self-importance gets a harsher examination, with professional courtesy barely concealing the threats; and [*The Long Good Friday*](https://film.one/film/the-long-good-friday) (1980, Fi1m 88): More dangerous criminal negotiations, with businessmen discovering that confidence has its practical limits. ### Reviews we read (12) - **RogerEbert.com**, Roger Ebert (4/4): The critic praises the film as a small jewel and a smart, funny satire that moves effortlessly between crime and Hollywood. He singles out the sharp, authentic Elmore Leonard dialogue as the soul of the story. [Read](https://www.rogerebert.com/reviews/get-shorty-1995) - **The Hollywood Reporter**, David Hunter (90/100, inferred): The review hails 'Get Shorty' as a major winner and outstanding adaptation of Elmore Leonard's novel with a perfect cast, great script, and talented director. It singles out the snappy dialogue kept by screenwriter Scott Frank and the brilliant, humorous performances, especially Gene Hackman and Danny DeVito. [Read](https://www.hollywoodreporter.com/news/general-news/get-shorty-review-movie-1995-1248374/) - **The New York Times**, Janet Maslin (90/100, inferred): The film is a clever Hollywood satire with an enlightened sense of fun and a terrific ensemble cast. Travolta delivers a suave, unflappable performance as the no-baloney hero Chili Palmer that anchors the irreverent comedy. [Read](https://www.nytimes.com/1995/10/20/movies/film-review-a-hollywood-innocent-who-s-anything-but.html) - **Empire**, Andrew Collins (80/100, inferred): The critic highlights the film's wise-guy humor inspired by Reservoir Dogs and Travolta's commanding, charismatic lead performance as Chili Palmer. It singles out the engaging Tinseltown satire and Sonnenfeld's stylish visuals for praise, deeming the film likeable, original and a strong Leonard adaptation. [Read](https://www.empireonline.com/movies/reviews/get-shorty-review/) - **Radio Times**, Adrian Turner (4/5): This adaptation explores Hollywood's links to organised crime as Travolta's gangster imports his methods into movie production. The performances are exquisite, with Travolta charming yet menacing, DeVito perfect as an egotistical star, and Hackman delightful. [Read](https://www.radiotimes.com/movie-guide/b-2yrlvm/get-shorty/) - **The Guardian** (80/100, inferred): The critic finds the film an enjoyable noirish satire and pure pastiche of Hollywood, noting its self-aware humour and how it spoofs the movie business while celebrating it. Travolta's charismatic, street-smart lead performance is singled out for particular praise, alongside the strong ensemble cast and the film's witty, hard-boiled delivery. [Read](https://www.theguardian.com/culture/2025/feb/19/get-shorty-a-madcap-loving-spoof-of-the-film-biz) - **Time Out**, TCh (80/100, inferred): The film adapts Elmore Leonard's novel closely, capturing its comedy of manners through sharp dialogue and character interplay as a Miami loan shark navigates Hollywood. It is breezy and sophisticated, capitalising on Travolta's low-key charisma with snappy scoring and editing. [Read](https://www.timeout.com/movies/get-shorty) - **Los Angeles Times**, Kenneth Turan (70/100, inferred): This is light, witty comedy in an amoral setting that benefits enormously from Travolta's charming, star-making turn as the cool-headed Chili. The film is an amiable diversion that re-creates Leonard's verbal style without knocking anyone out. [Read](https://www.latimes.com/archives/la-xpm-1995-10-20-ca-59002-story.html) - **Variety**, Todd McCarthy (70/100, inferred): The adaptation is good sly fun with a dazzling Travolta performance and strong supporting cast that captures the quirky literary quality of Leonard's novel. Sonnenfeld establishes a distinctive tone but the action stays on the same plane without dramatic highs. [Read](https://variety.com/1995/film/reviews/get-shorty-2-1200443536/) - **The New Yorker**, Terrence Rafferty (50/100, inferred): The movie succeeds thanks to Travolta's cool, graceful portrayal of the unflappable Chili Palmer, who embodies Leonard's dry comic tone. Sonnenfeld's broad, cartoony direction and heavy-handed gags fail to capture the novel's subtle ironies. [Read](https://www.newyorker.com/magazine/1995/10/23/players-2) - **Collider**, Tom Reimann (90/100, inferred): The critic calls Get Shorty the best Elmore Leonard adaptation and one of the best crime comedies ever made. They single out the incredible ensemble cast, particularly the supporting performances by Dennis Farina, Gene Hackman, Delroy Lindo, James Gandolfini, and Danny DeVito, for praise. [Read](https://collider.com/get-shorty-john-travolta/) - **Eye for Film**, The Dude (80/100, inferred): The critic praises the film's great story, cast, and talent, highlighting Travolta's cool delivery and strong supporting turns from Hackman, Russo, and DeVito as standout elements that make it worth owning. Minor notes include dated music and occasionally transparent Hollywood satire. [Read](https://www.eyeforfilm.co.uk/review/get-shorty-film-review-by-the-dude) ## Details - **Director:** Barry Sonnenfeld - **Director:** Barry Sonnenfeld - **Screenplay:** Scott Frank - **Novel:** Elmore Leonard - **Cinematography:** Donald Peterman - **Editor:** Jim Miller - **Music:** John Lurie - **Production design:** Peter S. Larkin - **Costume design:** Betsy Heimann - **Producer:** Michael Shamberg, Stacey Sher, Danny DeVito - **Cast:** John Travolta as Chili Palmer; Gene Hackman as Harry Zimm; Rene Russo as Karen Flores; Danny DeVito as Martin Weir; Dennis Farina as Ray 'Bones' Barboni; Delroy Lindo as Bo Catlett; James Gandolfini as Bear; Jon Gries as Ronnie Wingate - **Runtime:** 1h 45m - **Certificate (MPA):** R - **Release (the US):** 20 October 1995 - **Genres:** Comedy, Thriller, Crime - **Also in:** [Golden Globe Best Musical or Comedy winners](https://film.one/collections/golden-globe-comedy.md) (Nominee, 1995) - **Budget:** $30 million - **Box office:** $115 million - **Trailer:** https://www.youtube.com/watch?v=fvBx0x9IJnk ## Where to watch in the US - The Roku Channel: free, hd, leaving 2026-10-01 - Tubi: free, hd, leaving 2026-10-01 - Amazon Prime Video: rent $3.99, hd - Apple TV: rent $3.99, hd - Amazon Prime Video: buy $14.99, hd - Apple TV: buy $14.99, hd *Checked 2026-09-13.* Also available in: AE, AR, AT, AU, BE, BG, BR, CA, CH, CL, CO, CZ, DE, DK, EE, ES, FI, FR, GB, GR, HK, HR, HU, ID, IE, IL, IN, IT, JP, LT, MX, MY, NL, NO, NZ, PA, PH, PL, PT, RO, RS, SE, SG, TH, UA, US, VN, ZA. Add `?region=XX` to this URL for another country. ## If you liked this - *Out of Sight* (1998), Fi1m 86: More relaxed criminal charm, with enough romantic friction to make the danger count. — [Fi1m page](https://film.one/film/out-of-sight.md) - *The Player* (1992), Fi1m 85: Hollywood self-importance gets a harsher examination, with professional courtesy barely concealing the threats. — [Fi1m page](https://film.one/film/the-player.md) - *The Long Good Friday* (1980), Fi1m 88: More dangerous criminal negotiations, with businessmen discovering that confidence has its practical limits. — [Fi1m page](https://film.one/film/the-long-good-friday.md) - *Big Deal on Madonna Street* (1958): A less competent criminal enterprise, handled with affection and a fine ensemble. - *The Ladykillers* (1955), Fi1m 86: Criminal vanity meets domestic politeness, and the cast understands precisely where to pause. — [Fi1m page](https://film.one/film/the-ladykillers.md) --- © Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/get-shorty